碎語 Whispers from the Past
如果《夜拾 Nocturnals》將由書寫轉化而來的皴法推向物件的嫁接與場景的生成，《碎語 Whispers from the Past》則更聚焦於這種皴法本身的量感與體感。這個系列延續顏妤庭近年對新聞、記憶與水墨繪畫的思考，同時結合他在陶瓷創作中的經驗，進一步實驗反覆書寫所形成的筆畫痕跡，如何從平面的肌理轉化為具有重量、厚度與身體感的形體。
在這個系列中，皴法來自文字的層層書寫與覆蓋。新聞訊息在反覆抄寫中逐漸失去可讀性，筆畫則像是被自身累積的重量所加壓，逐漸形成球體、柱體與盤繞扭轉的人形。近距離觀看時，畫面中物體的表面仍保有書寫當下的筆畫痕跡，以及依稀可辨的訊息片段；遠看時，這些筆畫又凝聚成帶有重量的複合物，呈現出介於書寫、肌理與形體之間的狀態。
《碎語》也引入靜物畫的形式，嘗試結合西方繪畫中對光影、透視與物件結構的描繪，以及東方水墨中的書寫性筆法。畫面中的物件看似安靜地被擺放，卻又帶著被壓縮、塑形後的身體感。它們無動於衷地存在於畫面之中，顯得歸順而無奈，也映照出人在社會秩序與日常結構中的狀態。
系列名稱中的「碎語」，像是從過去傳來的微弱聲響。那些被反覆書寫的新聞、記憶與個人感受，沒有以清楚的句子被保留下來，而是在筆觸、量體與物件表面之間斷續顯現。它們在繪畫中暫時凝聚成形，像是訊息經過時間、材料與身體經驗反覆擠壓之後，留下的一些低聲、模糊卻仍可感知的痕跡。
If Nocturnals pushes the form of cunfa transformed through writing toward the grafting of objects and the generation of scenes, Whispers from the Past focuses more closely on the sense of volume and bodily presence within this form of cunfa itself. The series extends Yu-Ting Yen's recent reflections on news, memory, and ink painting, while also drawing on his experience with ceramic practice. It further experiments with how the traces of repeated writing might shift from flat textures into forms with weight, thickness, and bodily presence.
In this series, cunfa emerges from the layering of written words and repeated covering. As news text is transcribed again and again, it gradually loses its readability. The brushstrokes seem compressed by the weight of their own accumulation, gradually forming spheres, cylinders, and coiled, twisting human figures. Viewed up close, the surfaces of these objects still retain the marks of writing, along with fragments of information that remain faintly legible. From a distance, these marks gather into weighted composites, forming a visual state between writing, texture, and form.
Whispers from the Past also introduces the format of still life, bringing together the Western pictorial treatment of light, perspective, and object structure with the calligraphic quality of Eastern ink painting. The objects in the paintings appear quietly arranged, yet they also carry a bodily presence shaped by compression and molding. They exist in the picture with a kind of indifference, appearing compliant and helpless, while reflecting the condition of the individual within social order and everyday structures.
The title Whispers from the Past suggests faint voices arriving from another time. The news, memories, and personal sensations that have been repeatedly written are not preserved as clear sentences, but appear intermittently among brushstrokes, volume, and the surfaces of objects. They temporarily gather into form within the paintings, like quiet, blurred, yet still perceptible traces left behind after information has been repeatedly compressed by time, material, and bodily experience.
